The 50 Oldest Living Oscar Nominees

Happy birthday to Best Actress winner Joan Fontaine (Suspicion, 1941), also known as the second Mrs. DeWinter. She turns 93 years young today. What on earth was she thinking about when she won the Oscar. This photo to your left fascinates me on account of "who knows?" It seems so much more candid than many Oscar night photos.

I keep the following "still with us!" list, not from any morbid curiousity but from a genuine happiness that some legendary screen stars are still walking the earth even though most of them aren't walking the screens these days. This year has been rough with the losses so maybe I'm going to stop keep this list. My heart was in the right place!  We want the following to know that their past accomplishments are acknowledged by new generations.

The Oldest Living Oscar Nominees
All of them were born before the movies even had sound!

1. Luise Rainer (2 time Best Actress winner The Good Earth & The Great Ziegfield ... I love her in that one) turns 101 in January. May she live to be as old as she wants to be!
2. Norman Corwin (nominee for writing Lust for Live) is 100. 
3. Douglas Slocombe (3 time nominee) cinematographer of Raiders of the Lost Ark among other classics is 97.
4. Elmo Williams, also 97, won his Oscar for editing High Noon (1952) one of the earliest movies (though not the earliest) to be told in "real time."
5. Oswald Morris turns 95 in one month's time. He received all of his nominations for Best Cinematography for musicals (The Wiz, Oliver!, Fiddler on the Roof) but he also worked frequently with legendary director John Huston. Puppet classic The Dark Crystal (1982) was his last job.
6. Olivia de Havilland (2 time winner The Heiress & To Each His Own) is 94.
   
7. Kirk Douglas (Honorary Oscar and 3 time nominee), Spartacus himself, turns 94 in December.

8. Ernest Borgnine (winner Marty) turns 94 in January.
9. Celeste Holm (winner Gentleman's Agreement) is 93.
10. Joan Fontaine Happy 93rd, Joan! May you have anything you want today, unless it's something that Olivia de Havilland wouldn't be happy about because we love her. Just sayin'.
11. Tom Daly (5 time nominee) this Canadian producer nominated in short film and documentary categories is 92.
    
12. Joyce Redman (2 time nominee Tom Jones) turns 92 in December. [Trivia note: Tom Jones is the only film to have ever won three nominations in Supporting Actress. Pity that Robert Altman's Nashville didn't repeat that trick because it was deserving.]
    
13. Dino de Laurentiis (Thalberg winner and a producing winner for La Strada) recently turned 91. Sadly, the movie man has died. RIP.
14. Michael Anderson (nominee, directed Around the World in 80 Days) is 90.
    
15. Ravi Shankar (nominee, the co-composer for Gandhi) is 90.
16. Ray Harryhausen (Gordon Sawyer Award recipient), the f/x legend, just turned 90.
17. Mickey Rooney (Honorary Oscar and 4 time nominee) just turned 90.
18. Carol Channing (nominee Thoroughly Modern Millie) is 89. "Razzzzzbbberrries!"
19. Ken Adam is 89. He's a two time winner for Art Direction and his nominations stretch across 4 decades of cinema.
    
    

20. Hal David (winner "Raindrops Keep Falling on My Head" from Butch Cassidy and the Sundance Kid) is 89.
21. Deanna Durbin (Juvenile Award winner) is 88. She was only 18 when she won her Juvenile statue (shared with Mickey Rooney) but she retired from the screen just nine years later.
    much more trivia after the jump including Doris Day, the two oldest Supporting Actors and people who are too young for this list.
    
22. Doris Day (nominee Pillow Talk) is 88. There's a few Facebook groups trying to get her an honorary Oscar. Filmmaker Douglas McGrath pushed for it, too. [Trivia note: There is some controversy about Doris Day's exact age. But most sources now claim she was born in 1922 so she would have turned 88 this past April.
23. Mihalis Kakogiannis (3 time nominee, all nominations from Zorba the Greek) just turned 88.
    
24. Eleanor Parker (3 time nominee Caged) just turned 88. She's best remembered today as the (not totally) wicked would be stepmother in The Sound of Music but that doesn't paint the whole picture at all. Isn't it time for renewed interest in her career? Smart cinephiles think so.
    
25. Blake Edwards (Honorary Oscar and nominee for Victor/Victoria), aka Mr Julie Andrews, turned 88 this summer. RIP. Thanks for the laughs, Blake.
26. Norman Lear (television giant who was Oscar nominated for writing Divorce, American Style), one day younger than Blake Edwards, is one day younger than Blake Edwards.
27. Jackie Cooper (nominee Skippy) is 87. Trivia note: He is the youngest Best Actor nominee of all time, having been up for the prize when he was but 9 years old. He's likely to keep that Oscar record. The closest anyone ever got was Mickey Rooney -- also on this list -- at the age of 19.
    
    
28. Juanita Moore (nominee Imitation of Life *see it* It's a beauty) is 87.
29. Valentina Cortese (nominee Day for Night) is 87. She holds the extremely rare honor of a supporting acting nomination from a foreign language film. Those are so very infrequent.
    
30. Franco Zeffirelli (2 time nominee, director of Romeo and Juliet), another Italian (!), is 87.
    
31. Charles Durning (2 time nominee, The Best Little Whorehouse in Texas) is 87.
32. Richard Attenborough (2 time winner, director of Gandhi) is 87.
33. Cliff Robertson (winner Charly) is 87.
34. Glynis Johns (nominee The Sundowners) turned 87 a couple weeks ago.
    We're glad she got that one last burst of mid 90s comedy gold in While You Were Sleeping and especially The Ref. Well done, Sister Suffragrette ♪ ! Unfortunately, she's been little seen since.
35. Arthur Hiller (Hersholt Huminatarian winner, nominee for Love Story) turns 87 next month.
36. Ron Moody (nominee Oliver!) is 86. For a recent article on this underappreciated sixties musical, click here.
37. Stanley Donen (Honorary Oscar) is 86. He's one of the best musicals director of all time, most famous for that thrilling barn sequence in Seven Brides for Seven Brothers and the entirety of Singin' in the Rain.
38. Theodore Bikel (The Defiant Ones) is 86.
    
39. Sidney Lumet (Honorary Oscar, plus 5 time nominee) is 86. His classics include 12 Angry Men, Network, The Verdict and Dog Day Afternoon and he's also the man behind the extremely undervalued Running on Empty (1988). The best part is that he's still active. 
    
40. Eva Marie Saint (winner On the Waterfront) turned 86 this past summer.
41. Martha Hyer (nominee Some Came Running) is 86.
42. Lauren Bacall is 86. Like the recently departed Gloria Stuart (Titanic) she lost the Oscar in a year when the Academy wasn't feeling sentimental (it happens). But they just gave her an honorary.
43. Ruby Dee (American Gangster) turns 86 any day now! Happy birthday-in-advance Ruby. Maybe Denzel Washington can give her spankings to return her Oscar nominated slapdown.
44. Dorothy Malone (Written on the Wind) can she still do a mean mambo at 85?
45. Hal Holbrook (Into the Wild) is 85.
46. George Kennedy (Cool Hand Luke) is 85.
    Bonus Trivia! Funnily enough the oldest living Oscar winner for Best Supporting Actor (that'd be Kennedy now) is just one day younger than the oldest Supporting Actor Nominee ever (living or otherwise) which would be Hal Holbrook who was nearly 83 when he was nominated for Into the Wild.
47. Colette Marchand (Moulin Rouge) is 85.
48. Cara Williams (The Defiant Ones) is 85.
49. D.A. Pennebaker (The War Room) is a documentarian. He's 85.
50. Angela Lansbury turned 85 a week ago (we already celebrated) and she's still a big name to multiple generations. Most people know her as a TV and stage star these days but she had quite an ascendance on the big screen. How many people have won two Oscar nominations within their first three movies? Not too damn many, that's how many.
    

Too young: Julie Harris (The Member of the Wedding) this one time Oscar nominee is the Katharine Hepburn of the Tony Awards --10 nominations and 5 wins (the record!) -- she's about to turn 85; Haskell Wexler is 84. The great cinematographer has two Oscars (Bound for Glory and Who's Afraid of Virginia Woolf ); Andrzej Wajda the Polish auteur won an Honorary in 2000 is 84. Classics include Danton, Ashes and Diamonds and Man of Iron. His recent effort Katyn (2007) became his fourth Best Foreign Film nominee; Roger Corman, just won an honorary Oscar for "rich engendering of films and filmmakers" and that could not be more true. So many people got their starts with him. And like many celebrities (and me!) he's from Detroit originally; Cloris Leachman won Best Supporting Actress for The Last Picture Show (1971) is 84 and currently stars on sitcom Raising Hope. She's just a Tony Award away from the Triple Crown but  hasn't been on Broadway since the 1950s so ... she'll have to settle for the Oscar, Emmy, Golden Globe and BAFTA that she's already accumulated; Mel Brooks turned 84 this summer. He won his Oscar for the original The Producers before it became the smash musical but my favorite is Young Frankenstein with an affectionate nod to Silent Movie; Norman Jewison (director/producer) is 84; Classics include Fiddler on the Roof, In the Heat of the Night and Moonstruck; Producer Samuel Goldwyn Jr (Master and Commander); documentarian Albert Maysles (Grey Gardens) is almost 84.

If there's a mistake somewhere (possible) I assume you'll correct me. But be gentle.

Not Nominated: Actors and actors I had to pass up for this list (zero nominations or honorary statues but of course this isn't anything like a complete list) include French actress Danielle Darrieux (93),  Louis Jourdan (91), Jane Russell (89), Maureen O'Hara (90), Esther Williams (89), two-time Hitchcock beauty Farley Granger (85), Irene Papas (84) and Harry Dean Stanton (84) ... but the one who we hope still makes Oscar's history books is Christopher Lee, since he's been working so consistently on the big screen in his 80s. Next up for Lee is Martin Scorsese's The Invention of Hugo Cabret. And it's worth noting that Portugal's ancient Manoel de Oliveira, who is still making movies at 102, is older than anyone on this list and still working!

Stage and Small Screen Luminaries that are still with us (NOT A COMPLETE LIST) include "Alice" herself Ann B Davis (84), The Facts of Life's Charlotte Rae (84), The Bionic Woman's Richard Anderson (84), Andy Griffith just A Face in the Crowd is 84, , Elaine Stritch (85), Gilligan's Island Professor Russell Johnson (85), Lost in Space's June Lockhart (85), Jean Stapleton from All in the Family (87), Fyvush Finkel (88), the ubiquitous Betty White (88), Zsa Zsa Gabor (93) and Harry Morgan from M*A*S*H (95).

This list was culled from information on Dead or Alive, reader input and my own research.

de Havillink

Go Fug Yourself "well played" Kirsten Dunst & Demi Moore
Noh Way for counter programming purposes, here's a good piece from a writer who is not joining the Meryl Streep Julie & Julia love-in
Slate "the many accents of Meryl Streep" I wish this video was quicker and more inclusive but it's still kinda cool to hear the voices in close succession
My Internet... finally sees Reservoir Dogs
babblebook is not happy about the revisions to The Time Traveller's Wife
Cinema Blend Iron Man 2 footage leaked
Deep Focus on Dollhouse Season One. I'm itching for Season Two to start, aren't you?

three John Hughes pieces
NYTimes AO Scott's fine appraisal of John Hughes (RIP)
We'll Know When We Get There "Sincerely, John Hughes" an article from a John Hughes' fan turned pen pall
The Spy in the Sandwich on the poetry of John Hughes writing

Finally...


Finally, I neglected to spot this lengthy interview with the great Olivia de Havilland (The Heiress, Gone With the Wind and many more classics) when it was published last month. She's 93 years old and still trying to finish her memoirs. She wants people to understand what the 30s were really like in Hollywood, the sexual mores, the fame, the studio control. Unfortunately it sounds as if this book will exclude her much gossiped about multiple decades estrangement from her sister Joan Fontaine

That is one subject on which I never speak. Never.

Oh gods, please let her finish this book before she passes away. One nitpicky note, though. She is not, as this article implies, the oldest living Oscar winner. I believe that's Luise Rainer who, like Olivia, is a two-time winner (The Great Ziegfeld) who is still walking this good earth. She's 99 years old.

FAINTHEART (Best Pictures From the Outside In #13)

Since we've got a whole slew of new readers (thanks for joining us!) a little explanation. This is the 13th episode of the series "Best Pictures From the Outside In" in which Mike (GoatDog's Movies), Nathaniel (The Film Experience) and Nick (Nick's Flick Picks) compare Best Picture winners from either end of Oscar's timeline. We started by pitting the first (Wings, 1927) and the last (No Country For Old Men, 2007) against each other. In each subsequent episode we move one step forward in time and one step backward. We might throw in an extra episode pitting this year's winner (will it be The Curious Case of Benjamin Button or Slumdog Millionaire?) against... something. Eventually the series will end in the middle in the 1960s arguing about the comparative merits of In the Heat of the Night (1967) and Oliver! (1968). By the time that episode rolls around maybe nobody will be asking for "more".

Season 1: Episodes 1 thru 12
And now Season 2 kicks off with Episode 13...

Rebecca (1940) vs. Braveheart (1995)

Nathaniel: First, readers, an apology. It's been a long time since the last installment of this series and it's entirely my fault. While Nick and Mike were undoubtedly on their horses in blue war paint, ready for battle, I was stubbornly holed up in my room. A strained analogy: this Best Picture twofer is rather like the sprawling Manderlay estate in Hitchcock's Rebecca and I'm like the new Mrs. de Winter (Joan Fontaine). I was feeling overwhelmed. I am trying to get used to my surrounding in the East Wing (Rebecca -remarkably I'd never seen it!). The West Wing (Braveheart) I was avoiding like the plague. But the plot and this entires series requires that one move freely about in both wings of Oscar's mansion. So I finally walked into Braveheart again. I walked in slow motion according to the visual grammar of the movie, and am ready for battle. And there ends my analogy and apology.

...now if only Mel Gibson would apologize to me.

Nick: I DON'T THINK HE'S GOING TO APOLOGIZE!! BUT I WILL, IN ADVANCE! BECAUSE!! IF WE'RE GOING TO TALK ABOUT BRAVEHEART! I SHOULD WARN YOU!! I CAN ONLY TALK LIKE THIS!!! THE MOVIE IS CONTAGIOUS!! IT MAKES ME UNDULY EXCLAMATORY!!! WILLIAM WALLACE IS THE KING MIDAS OF YELLING! EVERYTHING HE TOUCHES TURNS TO YELLING!!! FREEEEEEDOM!!!!!

Nathaniel: Would you like a lozenge?

Perhaps a gag.

Nick: YES, THANKS!! DO YOU ALSO HAVE A CUDGEL AND SOME BAGPIPES THAT I CAN BORROW?! AND PERHAPS A SMOCK WITH A FLEUR DE LIS ON IT! IN CASE I NEED TO LOOK LIKE I'M FROM FRANCE!!!

Nathaniel: Where is Mike?

Has Mel Gibson stabbed him? slit his throat? set him aflame? bludgeoned him to death? None would surprise. Has there ever been a more violence-loving mainstream auteur in Hollywood? Inarguably this is the bloodiest film to ever snag Hollywood's top prize. Even Gladiator (a more appropriate film to go full title boogie into barbarism) wasn't as interested in death blows. It's impossible to look at Braveheart now (for me at least) and not see it as an unfortunate positive reinforcement for Mel's wild eyed sadism... it's like a warm up before the lovingly detailed torture of Jesus or the inventive brutalizations of huge swaths of Mayan extras.

Braveheart is not for the Faintheart

It's interesting to see him paired with Hitchcock though, since Hitchcock himself has a sadistic reputation.

Mike: I just have one word to say about your brutal, Longshanks-style ambush of Braveheart while I was away... FREEEEEEEEE--OK, maybe a few words. Yes, it's unnecessarily sadistically bloody. Yes, it's so historically inaccurate I won't believe anything in it, even if I see corroboration from other sources. Yes, it's puerile and adolescent and downright stupid about sex and politics and ideology and the incredible, unanswerable strategic power of a well-timed cock-waving. Yes, Mel's completely wrong for the part, making its intentional anachronisms blend with its unintentional anachronism into a sort of aggressively loud milkshake. (Which Longshanks wants to drink up.) And yes, Mel is no director, and whatever majesty the film achieves can be ascribed to cinematographer John Toll (but not to editor Steven Rosenblum or composer James Horner, who should both have been drawn and quartered for their work here).

But I like it.

It's never boring, for one, even though it is way too long. I like its fumbling efforts to be about something, not just FREEEEEEDOMMMMMMMM!!!! and bleeding head wounds but also about mythmaking. I like that Mel was reaching back to the era of widescreen Cinemascope historical epics that made up in energy what they lacked in brains. Yeah, it would have been better with Charlton Heston in front of the camera and Anthony Mann behind it, but if we compare it to its modern equivalent, Gladiator, it comes out on top for me, because you know Mel would have brought in ten thousand extras and a dozen rhinoceri (rhinoceroses?) instead of settling for a CGI Colosseum and a couple green-screened tigers.

Nick: Well-played, Goatdog. You write like A WARRIOR-POET! (I am attempting to modulate myself.) I can get behind that whole last paragraph, except that Russell > Mel is already enough to tip me back into Gladiator's camp in this particularly low-riding Best Picture square-off. And though Gladiator is stultifying whenever nobody's shooting an arrow or being chained to someone else, and Braveheart does have it beat for palpable, physical heft, Gladiator doesn't leave the bad, coercively BLOODLUSTY TASTE IN MY MOUTH that Braveheart does.

I also remember how wowed lots of people were by the muddy, immersive, rough-and-tumble quality of all the Braveheart battle sequences when the film came out, before Saving Private Ryan opened three years later and pretty much rewrote the book.

Nathaniel: Points in Saving Private Ryan's favor: It didn't really feel like Spielberg was actually enjoying the carnage. He was just revealing how horrific war is for the most part (which harkens back to that scene we all loved when we covered All Quiet on the Western Front -- violent death is terrifying, shocking and wasteful... even if you're a soldier and you know it's part of the drill). Both of those films feel human when they're dealing with death. With Braveheart I can only anthropomorphize because it feels like a rabid dog to me. I see it stumbling around, foaming at the mouth, looking for something to kill. It's so over the top that it plays like a parody of an epic rather than an epic. But the size of its fanbase is such that I shouldn't reveal how truly terrible I think this movie is...

Mad Max Mel

But I'm glad Mike defended it. It's fresh perspective for me. It's true that it's not "boring" and I'd never thought before to give Mel credit for his mad commitment to everything, not just the slow-motion button. But Mike is right that as a director he is.

Committed.

Bring out the rhinoceri!!!

Nick: Speaking of the crazy-ass shit that can happen when YOUR FIRST WIFE COMPLETELY F***ING DIES and you don't know how to channel all your emotions about it... who's going to address the ghost in the room? I think she just floated past me. I hope I haven't been tricked into wearing one of her dresses.

Nathaniel: You can wear any dress you like so long as we can get out of these kilts.

Mike?

[two weeks pass]

Mike: I must apologize for my lengthy absence; I dozed off during the first hour of Rebecca and only woke up recently. I've never been able to get into this film, from its college-years status as the movie I rented the most times without watching (seven), to my two or three viewings since I finally managed to get it into my DVD player (although I guess it was a VCR way back then). Why does it take so damned long to get going? It certainly looks great, although only Hitchcock would think of shooting almost all the exteriors and a handful of interiors against rear-projection. The end product feels like it's actually taking place inside that elaborate model we see during Fontaine's famous prologue soliloquy. As she later says about Monte Carlo, "I think it's rather artificial."

I guess that's just Hitchcock for you, but this feels closer to the boring Rope end of his experiments with enclosed spaces and farther from the exciting Rear Window end. And the leads don't help: Olivier outside of Shakespeare continues to elude me, Fontaine's slack-lipped, stuttering, hunched-shoulders conceit of youthful naivete grates on me, and only Judith Anderson really seems to be on whatever wavelength Hitchcock is going for.

Nick: I don't think I've disagreed with Mike twice at one time, ever. Certainly not in this series. So I'm feeling a little shaky right now; my lip is trembling like Joan Fontaine's and my shoulder is sort of hunched as I type this, while my face turns into a soft-focus mask of despair, and I go prowling around my high-ceilinged hallways, looking for answers. Which is all to say that I like Rebecca, a lot, and I especially like the first hour or so. I love the unease that Hitchcock builds into Joan's growing acquaintance with Maxim de Winter and into Joan's relationship with the woman she "accompanies," and how that woman can't help admiring her success at "snaring" Maxim. The estate is so gloriously designed and photographed; it may be artificial, but it's one hell of a shimmering, satin tapestry. The whole thing just feels so gossamer, but in a creepy and palpably cold way. It gets the du Maurier blend of dread, camp, and romanticism just right.

Admittedly, I like the second half a bit less, though it helps that I always, always forget all the big twists, so I get suckered by the narrative. I appreciate the continuity with Hitchcock's gamboling, picaresque thrillers of the 30s, full of improbable kooks who know just enough to be dangerous. But Rebecca does start to feel a bit gassy and over-crowded, and Olivier's performance gets a little stuck.

Nathaniel - you'd never seen Rebecca before, right? Break the tie!

[three weeks pass]

Nathaniel: "Last night I dreamed of Manderlay again"... or, to be more specific, last night I nightmared of Rebecca again. That is to say, would we ever wrap up this particular BPFTOI ? And this time it's all my fault! In a very peculiar way the movie has become Rebecca DeWinter to me and, like you Nick, I've gone all pinched as if I'm playing Fontaine. I'm totally the second Mrs de Winter ... and the original intimidates me.

In the long line of psycho screen lesbians, isn't Mrs. Danvers the top?

It's now been over a month since I've seen the movie and it feels like a ghost to me just like Rebecca. I don't love her/it as much as Mrs. Danvers does (my god, who could?) but I am semi-fond. So rather than playing tiebreaker I play mediator. There's a lot of good stuff here, but there's also too much clunkiness (Hitchcock loves exposition but that boathouse sequence!) for me to accept its lauded place in the Hitchcock canon (his one and only Best Picture winner? Argh).

That said can we talk about Mrs. Danvers for a minute. That negligee sequence!

Did you ever see anything so delicate? Look... you can see my hand through it.

I love that it works as a reflection of the movies inimitable creepy/gossamer quality you mentioned (who could ever put those together? Hitchcock that's who) but it's also so subversively Queer. It's now vying for the top spot in the annals of all time best barely sublimated gay desire scene (Red River's famous "ever had a good swiss watch?" sequence now has formidable competition). Judith Anderson does a fantastic job of actualizing this woman who isn't self-actualized at all. I just loved her. This isn't a new reaction of course since the character is so iconic but, DAMN! Sure Mrs. Danvers is but one blip in a long chronological line of psycho screen lesbians but I guess I'm more than okay with uncharitable portrayals of gay characters when they're done with such style, creativity and craft and not when they're just blandly reflective of their director's "issues" with the same [cough Braveheart cough]

Nick: Anderson is indeed great, and even if, for me, the second half of the film trails a little vaguely after a fascinating set-up, I love that Hitchcock hands the whole end of the movie to Mrs. Danvers, making her all but synonymous with that funereal mansion and bringing them both down together in a giant blaze of neurotic ardor. I love the tension between smallness (hers is a supporting role, after all, and not a deeply contextualized one) and hugeness (the wide angles, the whole estate, the end of everything, the screen filled with smoke). I also love that Hitchcock knows that if you direct a movie carefully, the audience can often detect the heartbeat of the whole film in the fate of a single character. It's as though we zoom in on one persona/relationship, between the already-dead and the soon-to-be-dead woman, and we suddenly see the whole canvas in a different way.

Gibson finds it impossible to delve into his movies like this. In fact, he's always racing out of them toward some larger concept that ultimately has little to do with what he's made a film about. It's "freedom" in this case, even though he's helpless for almost three hours at stitching the battlefield stuff to the halls-of-power stuff in any meaningful way, or at proposing any particular notion of what "freedom" means for these characters, or this film. (Gibson pulled a similarly open-ended non-sequitur with those looming ships at the end of Apocalypto; happily, for him, Christ's Resurrection at the end of The Passion lent some credence to his preferred style of conclusion.) If you have to ditch your own movie and chase an empty slogan in order to finish it, you probably haven't -- you know -- directed it very well. Or told a coherent story, though I like Mike's idea that he's at least gestured toward a myth in a robust, unembarrassed way. Plus, as we've all covered, he does succeed in dicing and stabbing and defenestrating the hell out of a whole lotta people. Maybe FREEEEEEEDOM's just another word for no one left to kill.

*

Rebecca (1940) was nominated for 11 Oscars and won 2 (Picture & Cinematography) Braveheart (1995) was nominated for 10 Oscars and won 5 (including Picture & Cinematography)

Now is your chance to YELL, readers. Are you slathering on warpaint to punish us for our treatment of Mr. Gibson? Where do you fall on our Rebecca scale of love / like / can't get into?

Breakfast With... the Second Mrs. de Winter

Scrambled eggs.

Oh, come on. Eat it up like a good girl.

(Pssst. Season 2 of "Best Pictures From the Outside In" begins very soon)